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Vallejo and Political Art Beyond Death (Conclusions)
(2023-11-02)
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Mariátegui: Reader of Poetry
(Universidad de Chile, Facultad de Filosofia y Humanidades, Departamento de Literatura, 2023-05-01)
This article studies Mariátegui as a reader of poetry, that is, as a critic who found in poetry an object of questioning and a place to demonstrate the political fertility of the imagination. Mariátegui proposed three categories to map the different aesthetics tendencies occurring during the first decades of the twentieth century: “pure lyricism”, “absolute nonsense” and “revolutionary epic”. The aim of this article is to comment on each of them within the framework of a theoretical option that understands poetry as a device to broaden the concept of reality and to acquire, from there, a more complex understanding of the social world and the functioning of subjectivity.
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César Vallejo. Introduction
(Palgrave Macmillan, Cham, 2023-11-02)
This introduction frames the poetry of César Vallejo from the ideas of Alain Badiou. The chapter argues that many of Vallejo’s poems emerge from having been confronted with an event that has taken subjectivity out of its inertia to reinvent it from other convictions. It is a poetry that announces the event that testifies its presence and defends it in spite of its political failure. The book studies the emergence, in the poems, of a subject that interrupts hegemonic repetition, affirms a truth that exceeds the law and never gives up despite failure or “lost causes.”
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Contrapunto
(Pontificia Universidad Católica del Perú, 2023-10-16)
This project questions the dialogue between photography and poetry. The image summons a poem and this, in turn, summons another image within the framework of an unfolding of questions about the conditions in which we inhabit the world. The sequence dialogues with that which concerns oneself and with that which opens and closes life in dynamics of pleasure and suffering. The idea is that both registers overdetermine each other to correspond, to produce a friction, to mark the opacity of an experience, to open lines of meaning, to point to that which has no word or to try to border on something unnamable. What is the dialogic behind the monologue of artistic production? The project emerges as an aesthetic exploration of two people who have tried to re-articulate different discourses and who have sought another way of conversing.
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A Poet of the Language Crisis
(2023-11-02)
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A poet of the “Part With No Part”
(Palgrave Macmillan, Cham, 2023-11-02)
Vallejo’s poetry always felt committed to the option of politicizing human pain, that is, naming its causes and representing the effects that pain (suffering, exploitation, evil) causes in those who have been placed as the remnants of the social system. This chapter explores a poetics in which the representation of marginality becomes increasingly prominent. In Vallejo’s poetry, art names the excluded rest in order to try to produce a social change. Due to his religious formation and his Marxist readings, Vallejo began to think (and feel) that the world could be reconstituted from the place of the excluded.
2
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A poet who announces the event
(Palgrave Macmillan, Cham., 2023-11-02)
The chapter argues that Vallejo is a poet of the event, that is, a poet who strives to give an account of an experience of truth that has interrupted the world and can begin to transform it. For Badiou, an event is something, fundamentally new, that emerges from that which was not counted in the established frameworks; something that emerges from the holes of the social to break the inertia of daily reality. What is central to the event is the moment in which an individual decides to become the subject of the event in order to begin to communicate a new universal truth. Vallejo’s last poetry strove to call militantly towards the unquestionable truth of the “communist idea.”
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A Poet of the Ethics of the Real
(2023-11-02)
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A poet of lost causes
(2023-11-02)
This chapter studies Vallejo’s last poems in which he set out to celebrate a group of subjects who defended the “communist idea” to the last consequences. In fact, the subject of Vallejo’s poetry ends up being, above all, a subject of the will. Although his verses always set out to represent the fragile condition of subjectivity, and although they never shy away from recognizing how the subject cowers before the event, his poetry also confirms that there are latent political possibilities in humanity, forces that invite us to overcome the limits of our social determinations.
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